Psychology Papers 5:Experiencing Surfing and the Art Quilt

A phenomenological inquiry of surfing: Psychological, transpersonal and ecopsychological dimensions

Stone, M. (University of Auckland)

The focus of this research is the phenomenon of surfing among select populations of surfers in New Zealand. The purpose is to ascertain and gain increased understanding of the intricacies of the phenomenon and its influence on those who surf regularly. The research seeks to gain access to the lived experience of the surfer, to elucidate what generates the feelings and meanings which are provoked in those who surf. Theoretical familiarisation (e.g., Willis, 2001) and phenomenological analysis of initial interviews conducted thus far has shown the value of uncovering in as much detail as possible the nature and nuance of the phenomenon. Initial analysis delving deeper within linguistic constructions of the surfing experience shows surfing to be much more than simply riding waves for riding waves sake.The research thus far described acts as a springboard for subsequent exploration focusing on the lived-experience of surfers themselves. Of interest are the surfer’s conceptions of nature, their relationship with the natural world, their perceptions of a global environmental crisis and pro-environmental behaviours. Previous research with outdoor activities participants has shown heightened respect for the natural world facilitating in the development of ecocentric ways of being among this population (Brymer, Downey, & Gray, 2009; Brymer & Gray, 2010). Furthermore, research with surfers has suggested that surfers have every desire to act pro-environmentally but in practice struggle to do so (Holland-Smith, Love, & Lorimer, 2013; Hill & Abbott, 2009). In this time of anthropocene (Syvitski, 2012), rigorous research is vital in order to further understand “the cognitive, motivational and structural factor and processes which threaten environmental sustainability” (Steg, & Vlek, 2009, p. 315), and contribute to a psychology which will “serve the whole of life, both human and more than human simultaneously and non-discriminately” (Fisher, 2013). While some academics believe “it is not likely that poetry and phenomenology will prevail over positivism in the near future as persuasive techniques for the scientific-rationalist establishment” (Wolsko & Lindberg, 2013). Others, myself included, firmly support the role of phenomenology’s role within the psychology mainstream.ReferencesBrymer, E., Downey, G., & Gray, T. (2009). Extreme Sports as a Precursor to Environmental Sustainability. Journal of Sport & Tourism, 14(2-3), 193–204.Brymer, E., & Gray, T. (2010). Developing an intimate ‘relationship’ with nature through extreme sports participation. Leisure/Loisir, 34(4), 361–374.Fisher, A. (2013). Ecopsychology at the Crossroads: Contesting the Nature of a Field. Ecopsychology, 5(3), 167–176.​Hill, L., & Abbot, J. A. (2009). Representation, identity, and environmental action among Florida surfers. Southeastern Geographer, 49(2), 157-170.Holland-Smith, D., Love, A., & Lorimer, R. (2013). British Surfers and Their Attitudes and Values Toward the Environment. Ecopsychology, 5(3), 103–109.Steg, L., & Vlek, C. (2009). Encouraging pro-environmental behaviour: An integrative review and research agenda. Journal of Environmental Psychology, 29(3), 309–317.Syvitski, J.P.M. (2012), “Anthropocene: An Epoch of Our Making”, Global Change, 78: 12–15.Willis, P. (2001). The “things themselves” in phenomenology. Indo-Pacific Journal of Phenomenology, 1(1), 1–16.Wolsko, C., & Lindberg, K. (2013). Experiencing Connection With Nature: The Matrix of Psychological Well-Being, Mindfulness, and Outdoor Recreation. Ecopsychology, 5(2), 80–91.

Narratives of Human Experience - A phenomenology of the Art Quilt

Zielinski, M. (Mercer University)

​This paper arises from my personal journey as a fiber artist, which has itself become a phenomenological, ecological, theological, and ontological inquiry into how a work of art speaks—how as Merleau-Ponty describes, art gives “visible existence to what profane vision believes to be invisible…reaching beyond the ‘visual givens’ [to open] upon a texture of Being of which the discrete sensorial messages are only the punctuation”. Here, in these pages and in my art, inspired by my reading of Bachelard and Merleau-Ponty, I examine what constitutes “a texture of Being” that laces the self into the flesh of the world, how the imagination weaves visible and invisible color and texture into the tissue of human experience, and how embedded text (like alphabets, characters, letters, words, titles, phrases, sentences, and even narrative) impacts the experience of seeing and interpreting art, particularly in a time when cursive handwriting has begun to disappear and the marks made by one’s body become more and more uniform and disconnected from unmediated tactile sensory experience.

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